I recently read an article in which Quentin Tarantino stated that fewer movie stars exist as a result of "Marvel movies in Hollywood." I think Jennifer Aniston made a similar argument before saying that there are no longer any movie stars. I'm not sure what that means. I can think of a lot of movie stars right now, such as Zendaya, Timothee Chalamet, and Zoey Deutch etc. what do you think? I'd love to hear your thoughts on this and Quentin's comments.
QuillBot's
Months ago, when you sent me this ask, anon, I wrote out a really long reply and as soon as I hit post, my laptop crashed and ate the answer, and I was so annoyed at myself for not saving my reply, that I couldn't bring myself to try and re-write an answer. I'm really sorry for that, especially because I think this is such an interesting ask (or well, two asks, because I think the death of the movie star and the impact Marvel's had on the broader concept of a movie star, are kinda two different things).
I've been thinking about it a bit again recently though, particularly as the Oscar race gears up, and Jacob Elordi and Charles Melton''s respective stars are rising in an industry currently desperate to find the new young Hollywood male 'talent', and I've been thinking about it again because honestly?
I agree with Jennifer Aniston, I think the movie star is dead.
We are a long, long way from Golden Age Hollywood where actors like Cary Grant and Marilyn Monroe could captivate a public imagination in a way that translated to big box office effect, after all. Hell, we're even out of New Hollywood, an era dominated by names like Al Pacino, Jack Nicholson, and Jane Fonda, and the Blockbuster era with Tom Cruise, Sylvester Stallone and Harrison Ford.
My original reply went into a lot of the different reasoning as to why this is (like with many things, I don't think there's any one reason for it), in particular how the advent of streaming has changed our relationship with films and TV shows, how the saturation of the market has diluted the staying power of celebrities, how social media and the perceived accessibility of celebrities removes personal mystique which in turn removes intrigue and increases a sense of entitlement, and the fact that so many people having stopped going to the cinema means that the experiential element of seeing a film in a setting larger than life has been diminished.
I think call out culture plays a role too, with any actor on the rise being torn down by tweets they made eight, nine or ten years ago impacting how their star rises, I think the dismantling of the studio system (which is a good thing!) also harmed actors in the long run as studios stopped investing the same resources into making and training stars (they used to be able to sing, dance and act! Now some can barely even act!), and I think, of course, the rise of prestige TV changed the industry substantially (after all, movie stars were movie stars - they traditionally did not, and would not, do TV, which created a clear class structure in terms of screen-based storytelling).
And yeah, I think the language shift from film and TV to content has done irrepairable damage to the artistry of filmmaking and the consideration of a movie star as an actor at the top of their field instead of an actor with the most Insta followers or YouTube subscribers (after all, if everything's content, isn't it the same thing? [no lol]).
Which I guess is kind of where Quentin Tarantino's argument comes in, right? What he's saying is that Marvel's made it so that the IP - the content itself - is the star, not the actor, and I'd say he's probably right with that.
Think of it this way - back in the New Hollywood/Blockbuster era, Harrison Ford was the movie star - he was leading new franchises left-right-and-centre between Star Wars and Indiana Jones, sci fi epics like Blade Runner, leading action thrillers like Patriot Games, The Fugitive and Clear and Present Danger and getting nominated for Oscars for Witness.
He was a movie star in every sense of the word because you could hinge a film - one with a new concept, not just remakes or sequels - on him and be virtually guaranteed a success. He was what sold the tickets, the director just hopefully had to make something good enough people would leave the cinema glad they saw.
Tarantino's argument is the Marvel model - - hell, even the new Star Wars properties, turned the franchise into the star, for better or worse, which means original films can't compete because nobody knows the IP. Back when Harrison Ford was at the top of his game, his name was what helped original films including smaller, standalone works like Witness find an audience, but the studios have changed that. Capitalism has changed that.
Properties with existing audiences and deep pockets for merch were prioritised, only now those franchises are faltering and you've got a generation trained that 'cinematic events' are reserved for blockbusters in established universes, instead of taking a risk on a new film because you know you love an actor who's in it.
Do I think we could go back?
Maybe, but probably not.
I think the place we are now in the history of cinema / TV / 'content' means you can't make a movie star anymore because I think the industry is simply so different that no actor can break through in the same way that even Leonardo DiCaprio could 30 years ago. That industry doesn't exist anymore, actors aren't guaranteed draws (Bones and All proved that for Timothee Chalamet, and Wonka I think could go a similar way), or they have to heavily rely on other industries to become household names which I think dilutes them as a pure 'movie star' (Zendaya's a great example of this - I like her a lot, but how many movies has she even been in? They built her career up in peripheral industries long before they tried to sell her as a movie star, and frankly, I'd question her even as a leading actress yet given she's typically only either been in ensemble casts or clear supporting).
It's a whole new world, and yeah, I think the movie star is dead.
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The Great Greta Garbo
Glamorous, compelling, and ever so famous was the iconic movie star, Greta Garbo. She graced Hollywood in the 1920s and 1930s with films like “Wild Orchids” and “The Kiss.” Altogether, she starred in thirty-three films and captivated men and women alike.
Greta was born Greta Lovisa Gustafsson on September 18, 1905 in Stockholm, Sweden and died April 15, 1990 in New York City at the age of 84 to pneumonia. Her childhood was that of poverty where her family lived in the slums. Her father was an itinerant laborer and didn’t earn much money to give his family the life he wanted for them to have. When Greta was old enough to work, she took various positions to help ease the strain of supporting the family.
One fateful day, film director Erik Petschler saw Greta and was mesmerized with her beauty after seeing her in a commercial advertising women’s clothing and he offered her a small role in his 1922 film “Peter the Tramp.” She was bitten by the acting bug and she started school at the Royal Dramatic Theater in Stockholm. She landed a major role in a 1925 Swedish movie “Gösta Berlings Saga” (The Saga of Gösta Berling). The director, Mauritz Stiller changed her birth name to Garbo as he felt it was fitting and becoming for her unique beauty. Seeing her potential, he negotiated with MGM (Metro-Goldwyn-Mayer) Studios in Hollywood and secured her a contract. Louis B. Mayer had doubts about Greta’s screen performance until the release of her first American 1926 film “The Torrent.” Her lustrous glow and the fluidity of how she moved impressed Mayer so much so that he gave her an exclusive contract.
1930’s “Anna Christie” was Greta’s first sound film. The movie was marketed with “Garbo talks!” She would earn three Oscar nominations for best actress for her performances in “Anna Christie,” “Camille,” and for “Ninotchka.” She never did win, but she did receive an Honorary Academy Award in 1955. She won the New York Film Critics Circle Award for best actress for her performance in 1935’s Anna Karenina. Her last film was “Two-Faced Woman” in 1941 and it received bad reviews that greatly humiliated her. Her acting life halted despite offers for other films after the movie flop.
Greta never married nor did she have children. Her first romance was with her often co-Star John Gilbert. In her latter years, she had a relationship with Leopold Stokowski, conductor of the Philadelphia Orchestra. It’s rumored that she had an affair with Russian-born millionaire George Schlee, stealing him from his wife. It’s specualted that Greta was bisexual, some would claim she was predominantly lesbian, but no one could confirm that. Though she appeared in events, she disliked the feeling uncomfortable acting like a socialite because it wasn’t who she was.
Greta would live the remainder of her life in a New York City apartment. She was an honored guest in the White House and She received treatment for breast cancer and would have dialysis treatment at a local hospital where she would later die from pneumonia. She will always be regarded as one of the most beautiful and graceful women that gifted us with her talent.
Until next time, Aloha oe.
Photos: *Getty Images, Posterlounge
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